Remote Production - Speed, Control, Infrastructure

Remote production gives broadcasters the ability to capture a wider range of live events, such as regional sports, news or music festivals, and mix them in a remote facility hundreds or thousands of miles away.

Many of these events might be of restricted interest, and may be broadcast to a narrow audience demographic. They may be regional news events which require a lot of content generation in a short space of time. They may require temporary infrastructures which need to be highly portable.

Remote production technology provides a realistic alternative for these events - the production of high quality content with fewer resources.

The barriers to effective remote broadcasting are speed (or latency), control and infrastructure.

1. Speed; the single biggest issue. Broadcast audio workflows rely on effective monitor mixes with no latency. This can be difficult to achieve when your studio is hundreds or even thousands of miles away.

To avoid the audio making a long distance round-trip, on-site remote production equipment should have local DSP to generate monitor mixes and IFBs with no latency. An operator in a remote studio will then need direct control over channel functions such as mic gains, aux send/monitor mix levels and fader levels from the remote console control surface.

Next, there needs to be a convenient method for configuring the DSP and bus configuration on-site. It must be simple for on-site engineers to set-up IFB routing and remote monitor mix levels at the venue, especially considering that many remote production broadcasts do not utilise as many staff.

These considerations guarantee that venue infrastructure, routing and monitor feeds are functional prior to transmission. Local DSP processing also means there is no latency for commentary or talent monitoring.

With all DSP processing for monitor mixes taken care of on-site, the studio transmission console can concentrate purely on the main programme mix.

Effective remote production requires a simple method to control the parameters of the remote production unit from a control room located many miles away, giving the operator control over channels, busses and other parameters from the studio control surface.

In other words, the operator sits behind a console that he is already familiar with and assigns remote channel paths to local faders, just like any other channel.

This functionality should include channel path fader levels and cuts, aux send levels and ons, aux master levels and cuts, VCA linking via the studio console, as well as control over EQ, dynamics and direct outputs.

The operator needs to independently mix all the remote site IFBs and aux buses in addition to the local transmission mix on the studio console.

For full scalability, there should be the ability to link multiple remote production units to the same studio-based console. This is useful for shows with multiple events happening simultaneously..

3. Infrastructure; transport is always an issue! Multiple synced signals need to be moved in real time, and down the same physical infrastructure. Audio, data and video all need to be considered, as well as multiple control protocols.

Infrastructures need to be versatile to connect via a range of transports allows the broadcaster to use their preferred transport methods, minimising initial expenditure and giving confidence in using an established transport mechanism. The studio console mixing the transmission can in turn assign these signals where required on the desk, so workflows are exactly the same as any other broadcast. Working in this way means the learning curve is shallow and transitioning to a remote production workflow causes minimal disruption.

As our industry develops, these transports need to develop too. The flexibility to incorporate changing AoIP and IP protocols like Dante, AES67 and even SMPTE 2022, is essential. A remote production unit should be flexible enough to deal with any transport.

CONCLUSION

Broadcasters, such as PAC-12 in the USA, have been developing the concept of remote production for some time. Nonetheless, simple connectivity and control, combined with a fully integrated solution that delivers these very exacting requirements, has only recently become available. Remote production units, like Calrec's RP1 for example, offers all this functionality whilst maintaining a focus on high-quality audio performance and reliability.

Remote production broadcasting means fewer resources are needed on site, and controlling audio from a remote console saves money on setup time, crew, logistics, and equipment. It is far simpler to set up than a traditional OB truck which may not be financially viable in many scenarios where remote production is currently being considered.

Remote production technology also allows broadcasters to create very low-cost on-site networks for all audio routing requirements. Utilising existing hardware onsite, it provides a cost-effective way to adapt to the requirements of any situation.

Fundamentally, it enables broadcasters to cover a greater number of specialised events at significantly reduced costs, making it possible to develop an increasingly wide range of content, and with no drop in quality.

Cobham: Mini RF Transmitters at NAB 2013

Calrec at NAB 2013

Cobham: RF Transmitter at NAB 2013

Calrec at NAB 2012

Calrec at BVE 2012

Calrec at IBC2011

Live production with Newtek at BVE 2015

At IBC we always look forward to meeting old faces and new. For those more recently acquainted with the broadcast industry, you may not realise IBC was born half a century ago in London. In 1967 the show, held at the Royal Lancaster Hotel, attracted just 32 exhibitors and 500 delegates. However, its popularity grew and the exhibition quickly upgraded with a move to the Grosvenor House Hotel in London, followed by the Wembley Conference Centre, before moving to Brighton.

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For several years I have felt that I should attend the Amazon Web Services (AWS) Summit in London, but never quite found the time to do it. After an exhilarating and educational day, I will now regret that I didn’t go sooner.

While chatting with a good friend last week, he told me he was full of foreboding about the coming IBC. It needs no introduction: this conference/exhibition is the largest gathering of broadcast professionals in Europe, and the second largest in the world, and everyone in our world knows about it. Ill give you some statistics later but, for now, lets look at why my friend was dreading it.

Im often asked, what do you do when the students arent around?, and the simple answer is, as it would be from any university technical support member of staff, I get involved in passion projects and these help me to stay up-to-date with the kit and keep my hand-in with video filmmaking.

Communications today is a critical issueno matter if you are producing broadcast television, doing a live festival or rock concert outdoors, setting up a musical on the West End, or producing a local school play. Over the last few years, the proliferation of cell phones and other wireless devices has made it clear that most people prefer to communicate untethered.

Independent filmmaker, Aaron Dunleavy, has used the backdrop of his hometown, Blackburn, to create a new short film as part of Channel 4 and Arts Council Englands Random Acts programme. The initiative - delivered by Tyneside Cinema (Newcastle), HOME (Manchester), and True North Productions (Leeds) - commissions bold, innovative expressions of creativity from young creative talent, and was a new and welcome challenge for Dunleavys third short film.

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Five years ago a group of practitioners who were concerned about the poor training provision and a lack of common skills standards in the broadcast industry formed the ITTP. Since then there have been many meetings with senior industry figures and representatives from training organisations and educational establishments.

Sometimes batteries can be interesting and this year with IDX is one of those years with not only improvements in the V-Lock range there are significant changes within the 7.2volt area.
Firstly and for the very first time in Europe the updated Power Link battery system the IPL range will be shown on the IDX stand at IBC

Having a choice is a good thing. Take apples, for example. While one may look pretty much the same as the next, we know that the subtle differences between varieties can make a huge difference in how we choose to use them some are best for pies, some better for cider, and others just perfect for eating from the tree.

Broadcasters come in many shapes and sizes, each with their own unique set of ambitions and their own preferred route to success. Some are happy to innovate, particularly if it increases staff efficiency or reduces operating costs. Others prefer to let their competitors do the innovating and then follow whatever path appears to work best. Thus the industry has advanced from dedicated hardware to more flexible and cost-efficient software running on 'enterprise-platform' comput-ers, and more recently to virtual devices.

When we were introduced to the team behind Sensation dance events in Amsterdam they had one big question for Timecode Systems: could our SyncBac VR wireless sync and control solution theoretically make it possible for a high quality, professional 360-degree video of a live dance music event to be edited in the time it takes the DJ to fly to his or her next gig? Intrigued by what our solution could help them achieve, in July they invited us to film at one of their iconic dance music events. Billed as The Final it was a sell-out farewell party to mark the last Sensation event in Amsterdam.

In recent years, viewing habits have shifted dramatically; online video is becoming the preferred option for the younger generation. But its not just millennials who are cutting the cord with broadcasters and traditional platforms increasing numbers of people from all age groups are abandoning cable and instead enjoying TV online. In response to this growing trend, platforms such as Netflix and BBC iPlayer are rushing to invest in fresh digital content, in a bid to satisfy their ever-increasing audiences.

Its difficult to attend an industry tradeshow or read a publication without seeing discussions about the technological changes that will impact the broadcast market in upcoming years. These changes include 4K/UHDTV, High Dynamic Range and High Frame Rate video but the transition to an all IP video workflow is regarded as a disruptive technology change that will demand new skill sets and infrastructure.

For decades videographers and filmmakers have been pushing the boundaries when it comes to creativity all with the aim of delivering a visually spectacular and engaging experience to viewers. For the most part they rely on artistic vision and innate skill, but over the last few years technology has been playing more of a role in enabling that creativity, like cameras, sound and lighting.

My second year at the University of Portsmouth seemingly began in a familiar fashion to the previous year. We sat in a large lecture theatre and listened intently to our course leader, who gave an outline as to what students on the BSc Television and Broadcasting course should be expect experience-wise from the up-and-coming year....

In 2012, the Oculus Rift Kickstarter campaign burst onto the scene, initiating a new wave of public interest in sense-enveloping immersive experiences. 5 years later, the consumer reality is mixed with some very public let-downs like Google Glass (which is coincidentally enjoying a re-birth at the time of writing, now as a technical tool in the workplace), and other technologies such as Dolby Atmos® becoming almost commonplace experiences. What does this mean for the audio professional and how is the near future shaping up in 2018?

LEDs are a highly efficient light source, and putting aside any color spectrum issues, (that have generally been improving) they still have limitations for lighting people. The naked illumination coming off a single emitter, or an array making up a larger fixture, such as a panel, is just not the soft, beautiful glow that we seek for human subjects.

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Imagine you are the director of the Champions League Final, knowing that 200 million people will be watching your every decision. Or you're directing the Eurovision Song Contest. Or even, to be honest, the Tunbridge Wells local news opt out. And at live minus 30 seconds, all the screens in the monitor wall suddenly go black then show a demand, in broken English, for 300 Bitcoin.

W's latest factual entertainment series relies completely on the ability of fixed rig filming setups to make cast members forget their inhibitions. Described as a fly-on-the-wall documentary, "The Dressing Room" gives TV audiences unprecedented access to team-sport dynamics off the field of play by inviting them into the hidden world of dressing rooms at venues across the country.

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We live in a world where - thanks to everything from smartphones to cheaper professional gear - more and more footage is being shot today than ever before. It's a little known fact, however, that as more movies are made, archived physical film works all over the world are in danger of being lost to the damage of time. The Library of Congress alone has documented that only 20% of U.S. feature films from the 1910 and 1920s survive in complete form, and according to European Parliamentary Research, as of 2014, 21% of European film works were held in archives, yet only 1.5% was digitized.

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At the Facebook F8 Developer Conference last April, Facebook's Workplace, a collaborative platform for organisations, announced enhanced live video functionality. Being able to stream live into Workplace will fundamentally change the way companies communicate, from broadcasting weekly meetings and webinars to live streaming Q&As. The possibilities really are endless.

Like other market segments, the motion picture and video production industry is dominated by smaller productions and facilities. Until now, the only option for this portion of the market to take advantage of the performance, fault-tolerance and ease of management of a modern scale-out storage platform was to invest in a storage cluster consisting of three storage nodes and at least one metadata controller.

It's summer! Just those two words alone are exciting. Combine them with words such as "music festival" or "sports" or "travel" and you have yourself a summer to remember. To ensure you have the hottest summer yet, consider live streaming your event ¦ wherever it is.

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So, the 2nd Media Production Show has been and gone. Hands up who went to Islington by mistake? I know at least two people who did. Their secret is safe with me! For me, the sign of a great trade show is when I come away really enthused about an innovative use of existing technology or a brand new product. When I find something that combines both these things, then I'm a very happy man.

The eventual move to incorporate IP into your infrastructures is an inevitability. However, with justified concerns about interoperability and uncertainty about which vendors are best placed to help organisations achieve their IP media networking and content delivery goals, is it any wonder there is hesitation about moving forward? Broadcasters very wisely, don't want the pain without the gain!

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Mobile Internet connectivity is critical to the success of remote news crews. Whether they're doing a reporting assignment for news, sports, or live events, they need a strong and reliable Internet connection. To have an edge over their competition and get content to air faster, crews need to be able to work just as if they were in the studio, but from the field.

Over the last few years Suitcase TV has been getting involved in remote production at the software layer, and I want to talk about some of the ways we have been getting involved in remote production, including a specific trial that we did last year with BBC Sport for the Euro 2016 tournament in Paris.

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It may seem hard to believe, but audio networking has now been with us for over 20 years. In 1996, Peak Audio released CobraNet, the first system that used computer networking of some sort to transport audio.

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